S-R-G-m-P-D-n-S
Sarodiya Rahul Bhattacharya describes the late-afternoon Gaoti as “an underutilised gem…a pleasant, fulfilled feeling…like enjoying a perfume without actually knowing why it’s so nice”. Also known as ‘Gawati’, the raga is often considered near-identical to Bheem (although strictly speaking, Bheem can be distinguished by its occasional use of komal ga in taar saptak). Straightforward audav ascents are balanced by sampurna descending lines which tend to run in ‘paired’ sequences (e.g. nS, DP, mP, Gm, RS).
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
—Acharya Jayanta Bose (2013)—
[motifs & taans, e.g. 1:11] n(SnSn…) DPD; nnmPnS GGSnSG, m(g)SnS, G, m(g)SnS, GmPn S(n)S(n)S(n)S…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+
Sapta: Audav | Shadav | Sampurna
Poorvang: SRGM | SRG | SRM | SGM
Uttarang: PDNS | PDS | PNS | DNS
Varjit: Re | Ga | Ma | Pa | Dha | Ni
Double: rR | gG | mM | dD | nN
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Murchana: Bhup. | Bihag | Bilaw. | Charu.
Raganga: Bhairav | Malhar | Kan. | Todi
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
–Swara Geometries–
• Core form: S-R-G-m-P-D-n-S
• Reverse: SRgmPdnS (=Darbari)
• Inverse: Ni; SRGPDS (=Bhupali)
• Imperfect: 1 (Ga)
• Detached: none
• Symmetries: mirror (r—P)
• Murchanas: Bilawal set
–Global Translations–
• Carnatic: Harikambhoji
S-R2-G3-M1-P-D2-N2-S
• Jazz: Mixolydian
1-2-3-4-5-6-b7-8
• Pitch classes (‘fret-jumps’):
0-2-4-5-7-9-10-0
(2–2–1–2–2–1–2)
o • o • o o • o • o o • o
• Tanpura: Sa–Pa
• Names: Gaoti, Gawati, (~Bheem)
—Shivkumar Sharma (1997)—
[MORE TO FOLLOW]
Like everything on my site, the Raga Index will always remain 100% open-access and ad-free: however, anti-corporate musicology doesn’t pay the bills! I put as much into this project as time and finances allow – so, if you like these resources, you can:
• Support the Raga Index! •
…and hasten the project’s expansion…
—Riyaz-focused notations & bandish—
—Resurrecting rare and ancient ragas—
—Further melodic & geometric analysis—
—Engaging with Hindustani performers—
—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—
• Hindustani Raga Index •
An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023]
—Megalist (365+ ragas)—
• Search: Find your new favourite •
• Tags: Classifying the ragascape •
• Glossary: Raga jargon demystified •
• Ragatable: Analytical connections •
• Thaat: Bhatkhande’s base scales •
• Murchanas: Swara-set rotations •
• Quotes: Musings from raga artists •
• Tanpuras: Divine overtonal drones •
• Talas: Hindustani rhythm cycles •
[Random Raga]
—Search the Raga Index—
• Feedback / Contact •
George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!
• Learn raga on any instrument! •
everything 100% ad-free and open-access